Review: It was arguably 2007 debut LP "Underwater Dancehall" - still one of the greatest dubstep albums of all time - that made Tectonic co-founder Pinch one of British bass music's most celebrated talents, so this solo sequel is long overdue. Much has changed in UK bass - and his life - since then, and "Reality Tunnels" reflects that. Much more widescreen in approach and sound, it sees him flit between vocal grime and dubstep, 21st century jungle mutations, future dub, ambient soundscapes, deconstructed dancehall and - most surprisingly of all - weighty, bass-heavy, Bristol style techno. Some fans may be surprised at the decidedly different directions, but it all makes perfect sonic sense - after all, British bass music has long been about more than just dubstep and D&B.
Review: Four years have passed since Jessy Lanza last offered-up an album, the Jeremy Greenspan co-produced leftfield space-pop masterpiece that was "Oh No". While plenty has changed in Lanza's working life since then - she now lives in New York and improvises more with "modular and semi-modular" synthesizers - her commitment to delivering a genuinely unique take on 21st century synth-pop remains. Those versed in the work of the Junior Boys will hear the hand of regular collaborator Jeremy Greenspan in the chords, melodies and synthesizer settings, but "All The Time" is undoubtedly Lanza's vision. Combining her usual glassy-eyed vocals and ear-pleasing, often melancholic synth-pop sounds with the colourful vibrancy of future R&B and grooves that subtly reference all manner of styles (dubstep included), it's most perfect underground pop album you'll hear all year.